Mark Turner - Patternmaster

Label: ECM Records, 2026

Personnel - Mark Turner: tenor saxophone; Jason Palmer: trumpet; Joe Martin: acoustic bass; Jonathan Pinson: drums.

Long recognized as a brilliant saxophonist, Mark Turner continues to push artistic boundaries while remaining faithful to jazz fundamentals. His post-bop mastery is firmly displayed on Patternmaster, a sci-fi-inspired release featuring a quartet with trumpeter Jason Palmer, bassist Joe Martin, and drummer Jonathan Pinson. This is the same ensemble that recorded Return from the Stars in 2022.

Comprising six Turner originals, the album opens with the title track, a dexterous contrafact on Wayne Shorter’s “Pinocchio”. Martin and Pinson establish an infectious groove that both propels and anchors the music, supporting a creative theme delivered in unison by the frontline horns. Turner takes the first solo with a resolute attack and narrative clarity, riding a subtle bossa-inflected current shaped by the rhythm section, while Palmer matches the energy with assured phrasing. “Trece Ocho”, introduced by an entrancing bass figure, contains passages that recall the ingenuity of late pianist Andrew Hill, framed within a chamber-like brightness before culminating in a brisk, playful fanfare.

The band maintains its spark on “It Very Well May Be”, launched by Palmer’s commanding statement before Turner joins for the theme exposition. The rhythm section swings with purpose, and Turner delivers a solo blending hard-bop drive with post-bop sophistication, followed by Martin’s triplet-rich bass exploration. “Lehman’s Lair”, inspired by a complex composition by saxophonist Steve Lehman, thrives on a determined 4/4 pulse marked by groove and persistence, with the horns engaging in a virtuosic exchange rich in melodic treats.

“The Happiest Man on Earth” unfolds as a slow waltz shaped by sumptuous harmonies, while “Suspersister”, first recorded in 2009, adopts a structurally bold framework with subtle pop-rock inflections. Pinson’s agile, jittery drumming stands out throughout, reinforcing intricate meters, vamp-based passages, and engrossing saxophone–trumpet conversation.

This quartet injects the music with engaging rhythmic impulses and a palpable sense of unpredictability, executed with consummate skill. Turner, having cultivated a distinctive tone and language, affirms his compositional strengths through empathetic interplay and unmistakable individuality.

Favorite Tracks:
01 - Patternmaster ► 02 - Trece Ocho ► 04 - Lehman’s Lair

Jon Irabagon - Focus Out

Label: Irabbagast Records, 2026

Personnel - Jon Irabagon: alto saxophone; Matt Mitchell: piano, Fender Rhodes; Chris Lightcap: electric bass; Dan Weiss: drums // Guests - Kokayi: vocals (#3,5); Dave Ballou: trumpet (#3,4); Miles Okazaki: guitar (#3,4); Donny McCaslin: tenor saxophone (#4); Mark Shim: tenor saxophone (#4).

Assertive and harmonically adventurous without abandoning tradition, Chicago-based saxophonist and composer Jon Irabagon has secured a high-ranking place in contemporary jazz. With a progressive mindset, he continues to release brilliant albums in varied formats and rich stylistic settings. His latest sonic venture, Focus Out, features a formidable quartet with inventive keyboardist Matt Mitchell, grounding bassist Chris Lightcap—here playing exclusively electric—and astute drummer Dan Weiss. Across six vibrant originals composed during a period in which Irabagon struggled to balance fatherhood and career, the quartet’s third outing presents him exclusively on alto saxophone, following Rising Sun and Recharging the Blade, where he focused on tenor and soprano, respectively.

The pieces are demanding, and “Morning Star” opens the album in visceral, eloquent fashion. Over the relentless momentum generated by Weiss’ fractured rhythms and the funk-inflected drive of Lightcap’s electric bass, Mitchell’s burning Rhodes and Irabagon’s incisive alto state unison lines with commanding authority. The title track, propelled by an asymmetric bass groove, creates constant metric shifts and even swings hard. Irabagon’s improvisation remains focused, gliding in and out of the margins with refined articulation. Weiss colors the texture with explosive cymbal work before his ride cymbal ushers in an avant-garde romp that drives the piece to its conclusion.

Both “Paper Planes”, named after Irabagon’s favorite cocktail, and the politically charged “Indigo Stains” feature vocalist Kokayi. The former channels a frenetic, vintage jazz spirit, with saxophone, trumpet, and guitar roaming freely, while the latter skirts between grooves with remarkable work by piano and drums. Guest trumpeter Dave Ballou and guitarist Miles Okazaki are featured here and also join “Evening Star”, which also includes tenor saxophonists Donny McCaslin and Mark Shim. Here the ensemble reaches a peak in an avant-garde gem marked by free-funk flair and finely calibrated dynamics. Bursting unisons, collective turbulence, and buoyant, horn-driven improvisations yield angular, outside runs delivered with athletic intensity. Okazaki’s distinctive phrasing benefits from Mitchell’s Rhodes accompaniment, and the vigorous finale unfolds with impeccable synchronicity.

Following “Prayer (For Reomi)”, a tender saxophone–piano duet ballad written for Irabagon’s daughter, “Center Post”, an earlier composition and another high-energy workout with shades of Coltrane, closes a breathtaking album that offers listeners a rich new tapestry of sound. The consistent brilliance and unpredictability displayed by this quartet—calibrated for maximum energy and marked by expansive freedom—make Focus Out one of the year’s standouts.

Favorite Tracks: 
02 - Focus Out ► 03 - Paper Planes ► 04 - Evening Star

Alain Métrailler - Heights Prospection

Label: Unit Records, 2026

Personnel - Alain Métrailler: tenor saxophone; Elias Stemeseder: piano; Chris Tordini: bass; Eric McPherson: drums + guest - Gregoire Maret: harmonica (#5).

Heights Prospection, the debut album by Swiss saxophonist and composer Alain Métrailler, balances styles, moods, and grooves with distinct character. Some records manage to appeal to listeners across the jazz spectrum, and this is certainly one of them. Featuring seven compelling original compositions, Métrailler entrusts them to a vibrant New York–based quartet with pianist Elias Stemeseder, bassist Chris Tordini, and drummer Eric McPherson. The bandleader, who spent six years in Brooklyn before returning to Switzerland, also interprets the standard “Crazy He Calls Me” in a supple saxophone–piano duet dedicated to influential alto saxophonist Lee Konitz.

Métrailler does not limit himself to classic jazz lyricism; he also pushes forward through adventurous explorations that exceed expectations. The opener, “Obvious Transmission”—a 5/4 blues written for his mentor, saxophonist Ohad Talmor—and “Jump Loud”, a piece that channels the spirit of Thelonious Monk and Anthony Braxton with edgier contours—it is dedicated to Joe Lovano—exemplify this approach. The former thrives on a steady piano pulse, contrapuntal bass lines, and flowing drums that inject a polyrhythmic feel. Métrailler’s dark-hued, introspective saxophone voice blends reflection and urgency, suggesting a meeting point between John Coltrane and Ellery Eskelin.

“Crispy”, a hard-bop nod to saxophonist and clarinetist Chris Speed, leans more directly on tradition, propelled by McPherson’s steady ride cymbal, Stemeseder’s probing deconstructions, and Tordini’s melodic bass work. “EWR Hero Saynt”, inspired by Wayne Shorter, dances with a buoyant swing, while “Flight of the Humble Being” unfolds as a tender 3/4 ballad enriched by guest harmonica player Grégoire Maret.

“Unstablemates”, a tribute to Benny Golson that also nods to Speed’s tune “Really OK”, introduces an engaging theme first stated by solo saxophone. With flexibility and assured phrasing, Métrailler develops motifs and sharply articulated lines that define his personal language, while Tordini and McPherson are given room to assert their presence.

Métrailler’s melodic and harmonic ideas appear in the form of passionate curveballs and disruptive tidal waves, evoking a sense of blossoming, possibility, and inner space. Heights Prospection stands as a promising first statement from an emerging saxophonist of notable vision.

Favorite Tracks:
01 - Obvious Transmission ► 04 - Jump Loud ► 06 - Unstablemates

Dave Douglas - Four Freedoms

Label: Greenleaf Music, 2026

Personnel - Dave Douglas: trumpet; Marta Warelis: piano; Nick Dunston: bass; Joey Baron: drums.

Comprising nine originals that merge jazz tradition with contemporary improvisational language, Four Freedoms is a deeply intuitive quartet session led by American trumpeter and composer Dave Douglas. Full of artistic freshness and a subtle, nearly surreal wit, the music hovers between form and abstraction, drawing conceptual inspiration from the Four Freedoms speech delivered in 1941 by US President Franklin D. Roosevelt—freedom of speech, freedom of worship, freedom from want, and freedom from fear.

Boasting a buoyant, vital sound, “Grits”—written for seasoned drummer Joey Baron—opens the session with playful, tonally rich drumming. Bassist Nick Dunston locks in with swinging verve, supporting Douglas’ towering trumpet voice. The trumpeter reigns supreme, blowing with authority and a hard-bop drive punctuated by folk inflections and knowing musical quotations. Across 32-bar rhythm changes, Amsterdam-based pianist Marta Warelis probes for singular conversational pathways, while Baron later trades bars with his bandmates with electrifying momentum.

If the balladic reverie of “Dreams We Hold” feels slightly less impactful, “Sandhog”—a grooving homage to the workers who built tunnels, the Brooklyn Bridge foundation, and subway systems—stands out for its exploratory reach. An eight-beat bass groove anchors the piece, supporting the triumphant call-and-response dialogue between Douglas and Warelis. Dunston delivers a deeply rooted statement, followed by Baron’s spectacular tom and cymbal architecture.

The avant-garde title cut feels abstract and loose, with Dunston employing arco bass with restraint and intelligence while Warelis injects intervallic surprise. “Militias”, meanwhile, flows through modal currents, enigmatic harmonies, and openly creative melodic contours.

Fueled by a robust bass introduction, “Fire in the Firewood” moves between solemnity, emotional release, and bursts of avant-garde expression. “Sing Sing” embraces jazz languor through muted trumpet and lucid brushwork, while “My First Rodeo” returns to soulful swing, buoyed by expansive improvisation.

With each musician contributing their own distinct personality to the whole, Four Freedoms pumps a different vibe with moments of rare elegance. Douglas’ vast body of work continues to command respect, and this latest offering stands as a worthy and compelling addition.

Favorite Tracks:
01 - Grits ► 03 - Sandhog ► 05 - Militias ► 06 - Fire in the Firewood

Ingrid Jensen - Landings

Label: Newvelle Records, 2026

Personnel - Ingrid Jensen: trumpet; Gary Versace: organ; Marvin Sewell: guitar; Jon Wikan: drums + George Coleman: tenor saxophone (#1).

Resourceful Canadian trumpeter and composer Ingrid Jensen—a key member of the acclaimed all-female jazz ensemble Artemis—continues to assert herself as a commanding bandleader and inventive composer with her new album, Landings. Released exclusively on vinyl to celebrate the tenth anniversary of the French label Newvelle Records, the album features eight tracks: five originals from members of her quartet and three carefully chosen covers.

Jensen is joined by the buoyant rhythm section of guitarist Marvin Sewell, organist Gary Versace, and her husband, drummer Jon Wikan, and welcomes legendary saxophonist George Coleman on the astonishing opener, “Amsterdam After Dark”. Composed by Coleman in 1978, the piece is delivered in sparkling form, tipping a subtle hat to Chick Corea and Donald Byrd. At 89, Coleman remains incisive and focused, weaving rapid, multihued lines over harmonically rich textures while Jensen’s inspired trumpet solo glows with effulgent tone, remarkable range, and striking melodicism.

Jensen’s own “New Body” plunges into atmospheric balladry with distinction, beginning with rubato guitar before settling into a steady 4/4 pulse, culminating in a breathy, contemplative finish. The title track, “Landings”, features adjustable grooves, melodic impact, and harmonic nuance, blending post-bop and fusion elements while later exploring R&B and funk frameworks.

Carla Bley’s impressionistic classic “Ida Lupino” is rendered with gentle refinement, while Sewell’s “The Worker’s Dance” anchors itself in a firm 3/4 lock-step, highlighting the guitarist’s semi-acoustic textures and Versace’s driving organ. Versace’s own composition, “Many Homes Many Places”, projects a lively Wes Montgomery Trio vibe fused with Miles Davis–inspired electric color, allowing the ensemble to swing freely and engage in crisp, responsive interplay.

The album closes with trumpeter Jim Knapp’s gorgeously bluesy “Home”, a piece closely associated with Jensen’s live repertoire. Marked by Wikan’s sensitive brushwork, the track showcases the quartet’s cohesion and melodic charm. Landings confirms the artistry of Jensen and her collaborators, delivering music that is both technically accomplished and deeply persuasive.

Favorite Tracks: 
01 - Amsterdam After Dark ► 02 - New Body ► 05 - Landings ► 06 - The Worker’s Dance

Russ Lossing - Proximity Alert

Label: Songs, 2025

Personnel - Russ Lossing: piano; Mark Helias: bass; Eric McPherson: drums.

Ohio-born, New York–based pianist and composer Russ Lossing is a devoted explorer of the piano trio format. Early on, he collaborated with bassist Ed Schuller and drummer Paul Motian, later forming a long-running trio with bassist Masa Kamaguchi and drummer Billy Mintz, with whom he released Moon Inhabitants (Sunnyside) in early 2025. In 2020, Lossing probed yet another trio setting alongside bassist Mark Helias and drummer Eric McPherson, resulting in Mood Suite (Steeplechase). Those two seasoned musicians now serve as the structural backbone of Proximity Alert, an 11-track session whose music consistently calls for dialogue, awareness, and discovery.

“Incommunicado” opens with a theme that feels both epic in stance and lively in tone, revealing modern classical undercurrents. The improvisational passages, however, are defined by space and restraint. Allowing the music to breathe, the trio favors sparse, measured, and often scintillating gestures. “Boo-Da” is eloquent and expressionistic, yet Lossing’s taste for seductive ambiguity leads the piece down unexpected paths. McPherson injects the final head with a burst of snare-driven urgency.

“Apostrophe” unfolds as a modern chamber exploration, shaped by Helias’ resonant arco bass, McPherson’s shimmering brushwork, and Lossing’s perceptive melodic sense, all lending the piece a supple elasticity. It stands in contrast to the tightly synchronized, prog-rock-tinged muscularity of the title track, which revolves around a persistent seven-beat piano riff. Helias turns beautifully percussive in his bass dance, as the texture thickens into something simultaneously swinging, spongy, and fiercely swirling.

These richly layered tapestries stem from a narrative-minded approach that allows ideas to evolve patiently through close listening and precise execution. The playful, buoyant “Rhythmique” and the meditative ballad “Lamento” exemplify this balance. The former features crisp staccatos, a flowing swing at its core, and freewheeling rhythmic shifts, while the latter, more even-tempered but no less inventive, opens onto a deep and reflective emotional terrain.

“Relentless” is heated up by a crisp, power-precision figure in nine, finalizing the procedures with unshakable certitude, while “Silent Alarm”, a freely improvised piece, atmospherically fits in the classy whole.

Favorite Tracks:
01 - Incommunicado ► 04 - Proximity Alert ► 06 - Rhythmique ► 07 - Lamento

Joel Ross - Gospel Music

Label: Blue Note Records, 2025

Personnel - Joel Ross: vibraphone, celeste (#1,11,17), mellotron (#17), glockenspiel (#1,11), drums (#11,12); Maria Grand: tenor saxophone; Josh Johnson: alto saxophone; Jeremy Corren: piano; Kanoa Mendenhall: bass; Jeremy Dutton: drums + Guests - Laura Bibbs: vocals (#11), flugelhorn (#17); Ekep Nkwelle: vocals (#12); Andy Louis; vocals, guitar (#13); Geoff Gallante: piano (#11); Brandee Younger: harp (#17); Austin White: electronics (#17).

Vibraphonist and composer Joel Ross has been steadily reshaping the contemporary jazz landscape with his extraordinary mallet work. Inspired by faith, devotion to God, and gratitude, Ross—who was deeply involved in Chicago’s Black church—offers a sonic manifestation of love and hope with Gospel Music, his fifth album for Blue Note Records. This 17-chapter interpretation of the biblical story unfolds through a core sextet composed of his Good Vibes group, joined here by alto saxophonist Josh Johnson (standing in for Immanuel Wilkins), alongside a handful of distinguished guests appearing on selected tracks.

“Wisdom is Eternal (For Barry Harris)” opens the album with a vamp built on a nine-beat cycle, its chanting saxophones moving in unison to add texture and melodic shape. The exquisitely expressive “Trinity” follows, propelled by a lively odd-meter groove that supports bravura turns by Ross, Johnson, pianist Jeremy Corren, and tenor saxophonist Maria Grand. An undercurrent of buoyant swing paves the way here.

“Protovangelium” begins anchored by Kanoa Mendenhall’s deep arco bass before shifting to pizzicato, gradually growing more tender and intimate, and ultimately returning to its initial depth. Subtle tempo inflections and impeccable teamwork are evident here, as well as on harmonically rich, more urgent pieces such as “Nevertheless” and “Word For Word”. The former highlights intricate melodies delivered with natural ease, while the latter leans into blues-inflected phrasing, vibrant rhythmic motion, and passionately voiced personal statements.

“Hostile” is a post-bop burner, driven by inexorable lines and a crisp, propulsive rhythm section, while “Repentance” thrives on carefully coordinated energy and contemporary openness, unfolding through instinctive, challenging vamps. The material is varied, and the ensemble approaches it with virtuosic command and a sense of calm, purposeful development.

The anthemic “A Little Love Goes a Long Way” marks a turning point in the album and leads into three consecutive vocal pieces. Frank Schoen’s “Praise to You Lord Jesus Christ” features Ross’s wife, Laura Bibbs, who first introduced the song to him. Betty King Johnson’s “Calvary” is beautifully rendered by vocalist Ekep Nkwelle, with Ross subtly destabilizing the rhythmic flow through additional percussion. “The Giver”, with lyrics by James Baldwin, is arranged as an intimate duet, pairing Corren with singer-guitarist Andy Louis.

There are other surprises, like “Be Patient”, which carries a Kurt Rosenwinkel’s Next Step vibe but with piano; and “The New Man”, which brims an ecstatic New Orleans kind of vibe. The closing chapter, “Now & Forevermore”, cools things down with a richly textured palette that includes harp, electronics, celeste, mellotron, bowed bass, and vibes.

Abounding in sophisticated harmonic turns and thoughtful structural design, Gospel Music is an artfully realized statement. Deeply personal yet broadly resonant, it fits seamlessly into Ross’s catalogue, affirming both his spiritual vision and his growing musical authority.

Favorite Tracks:
07 - Word For Word ► 12 - Calvary ► 15 - Be Patient

John Ellis & Double Wide - Fireball

Label: Sunnyside Records, 2026

Personnel - John Ellis: tenor and soprano saxophones, clarinet, bass clarinet; Alan Ferber: trombone; Matt Perrine: sousaphone; Gary Versace: piano, organ, accordion, Fender Rhodes, Wurlitzer; Jason Marsalis: drums, whistling; Rogerio Boccato: percussion (#4).

Featuring eight originals, Fireball presents multi-reedist John Ellis at the helm of his Double Wide quintet, whose sound and dynamics uplift and surprise as the instruments dance together with an evocative sense of liberation. The music was inspired by a composition fellowship Ellis received in Santa Monica, California, as well as by his recent work for podcasts.

The playful, fanfare-inflected opener “Wash Ya Mouth Out” channels a strong New Orleans spirit through bluesy tones and a mix of honky-tonk and gospel inflections. Propelled by Matt Perrine’s powerful sousaphone—he also delivers the album’s first solo—and Jason Marsalis’ incisive drumming, the piece reaches its peaks when Ellis, on tenor, and trombonist Alan Ferber alternate bars with conversational logic and clarity. This same buoyant ethos animates “Clown Car”, a soul-stirring number steeped in cabaret-style expressiveness.

“Top Down” shifts toward a Brazilian groove, with Ellis on soprano and Ferber slyly interlocked in deep lyricism, while Gary Versace’s keyboard work projects poise and responsiveness, giving the piece a palpable sense of life. “Crocodile Tears” unfolds as a gospel-tinged ballad waltz, and the closer, “From the Ashes”, embraces a spiritual, modal openness that finds the group in sympathetic communion. Originating from a Marsalis drum loop, the piece allows him to recreate freely atop the tapestry woven by the rest of the band.

The spirit of discovery intensifies on the title track, “Fireball”, a danceable tune that elevates the album through complex rhythms rich in accentuation, keen melodies, and a progressive avant-garde urgency that grows increasingly suspenseful and dense. Marsalis’ elastic syncopations, combined with Versace’s accordion and Ellis’ soprano soloing, are particularly formidable. “Meat Pie” is another highlight, keeping the temperature high with its animated groove, compelling solos, and lingering keyboard beams that offer valuable harmonic guidance. Perrine’s magnetic sousaphone adds muscular gravity, while Marsalis unleashes on the toms with impunity.

Designed with harmonic and melodic maturity, Fireball stands at the intersection of post-bop boldness and accessible avant-garde, showcasing Ellis as a thoughtful composer and flexible musician with deep respect for both tradition and modernity.

Favorite Tracks:
05 - Fireball ► 07 - Meat Pie ► 08 - From the Ashes

Odense Jazz Orchestra meets Loren Stillman

Label: AMM Records, 2026

Personnel - Loren Stillman: alto and soprano saxophones + Odense Jazz Orchestra.

Conducted by trumpeter Hans Christian Erbs, the Odense Jazz Orchestra was formed in 1994 and here teams up with American saxophonist and composer Loren Stillman, who contributes six compositions shaped by the lush orchestral contours of this accomplished Danish big band.

The multiple sonic landscapes on offer invite exploration from the outset, beginning with the harmonically supple lyricism of “A Tree Falls”, compellingly layered with shifting keys and deft articulation. Stillman’s alto drives the piece toward heightened emotional peaks before the mood shifts into a lightly funk-inflected passage that provides guitarist Morten Normal with ample space for his excellent narrative sense. “Waterworks” is a richly textured work inspired by a wildflower-lined hiking trail near Missoula, Montana. Impeccably orchestrated through a churning blend of brass and reeds, it features conspicuous guitar comping with a suggestive Brazilian feel, alongside Stillman’s fluent phrasing and clarity of intent.

The blues spirit permeates “Buffalo”, underscored by a funky beat and resonant trombone commentary over a consistently tight rhythmic foundation. Stillman’s intervallic daring and remarkable articulation inject further intensity, ensuring the piece leaves a strong impression. “Like a Magic Kiss”, originally heard on his 2009 album Winter Fruits, reappears here with a gently propulsive rhythmic undercurrent and a finely balanced, synergistic dialogue between saxophone and trumpet.

“Fowlkes”, a tribute to the late trombonist Curtis Fowlkes, places melody at its core. The big band’s collective power unfolds over a 3/4 framework that feels both warm and deeply resonant. The album closes with the superb “Dervish”, a striking bridge between cultures that incorporates elements of Persian music. Its challenging meters, elegant flow, inventive rhythmic shifts, and authoritative solos result in an ethnic-hybrid jazz statement that is harmonically and texturally engaging.

The full depth and breadth of this fertile collaboration reveal themselves over repeated listens, as the band skimp on unnecessary embellishments and focuses instead on inspired, finely detailed arrangements.

Favorite Tracks:
02 - Waterworks ► 03 - Buffalo ► 06 - Dervish

Maximilian Hering - The Gathering

Label: Klangraum Records, 2026

Personnel - Fernando Brox: flute; Edu Cabello: alto saxophone, bass clarinet; Victor Carrascosa: trumpet, flugelhorn; David Muñoz: double bass; Maximilian Hering: drums + Guest - Lucia Fumero: piano (#1,4).

For his sophomore album, The Gathering, German drummer and composer Maximilian Hering expands the chordless quartet he formed in 2018 in Barcelona with musicians from the local jazz scene by adding flutist Fernando Brox. Spanish pianist Lucia Fumero also joins on two tracks, while trumpeter Victor Carrascosa replaces Félix Rossy in a lineup that brings back alto saxophonist Edu Cabello and double bassist David Muñoz. Of the album’s nine tracks, five were composed by Hering, two by Muñoz, and one each by Cabello and Brox, allowing for a healthy compositional variety among players who clearly trust and understand one another.

Hering’s “Moles On Her Skin” exudes a candid bossa groove, marked by resonant rhythmic accents and a theme that explores facets of love and connection. Brox and Cabello share a conjoint solo built on conversational call-and-response exchanges, their phrasing alive with melodic clarity. Fumero’s piano also comes to the fore here and on the softly brushed ballad “519 km is too far for kissing you”, where she deepens the harmonic perspective with sensitivity and poise. The theme of love continues on “Entre Tu y Yo”, a piece that draws the listener in and establishes a space of calm through its emphatic Latin feel and triple-meter pulse. Intimate and dusky, this Muñoz composition highlights the bass clarinet within a warmly immersive atmosphere.

Cabello’s “Ojo De Madera” opens with Hering’s weighty tom work and selective cymbal use, gradually unfolding into a rhythmically etched cadence shaped by distinct unison passages. The ensuing urgency and animated motion incorporate swift lines and splashing cymbals in an avant-garde-leaning extemporization. This energy flows naturally into “The Gat-hering”, a mercurial blues in six where the soloists fully inhabit the music’s sense of openness and freedom.

The closing “Summer in PT” is another blues, delivered with deep-pocket time and subtle shifts in the rhythmic foundation that better serve the trio of frontline improvisers. By contrast, Hering’s “Route A66”, driven by a lively temperament and a funky undercurrent, features assertive bass motion that, together with the drums, establishes a pulsating center of gravity, setting the stage for Cabello’s searing alto solo. Throughout the album, the sense of collective integration is strong, underscoring the cohesion and shared vision of this ensemble.

Favorite Tracks:
01 - Moles On Her Skin ► 02 - Ojo de Madera ► 06 - Route A66

Human Being Human & Chris Cheek - Being

Label: April Records, 2026

Personnel - Torben Bjørnskov: double bass; Esben Tjalve: piano; Frederik Bülow: drums + Chris Cheek: saxophones.

Human Being Human is a Danish jazz trio led by double bassist Torben Bjørnskov, who—like on their previous two outings, Equals (2022) and Disappearance (2023)—composes all the material. The group is completed by pianist Esben Tjalve and drummer Frederik Bülow. Their latest album, Being, is further enriched by the presence of American saxophonist Chris Cheek, whose contribution broadens both the sonic and expressive scope of the music.

Inspired by human connectedness, the album opens with “Human Rights”, an involving and well-shaped post-bop statement animated by an illuminating theme and rounded out with emphatic solos from Cheek, Tjalve, and Bjørnskov. Cheek’s soprano cuts briskly through the sprightly and upbeat “Human Impact”, a piece that calls attention to both the damage humanity inflicts on the planet and the possibility of repair. Low-register piano figures align closely with the bass, forming a sure-footed tapestry that gently invites movement.

“Filla”, the only composition not written specifically for this album, is a candid saxophone–bass duet anchored by Bjørnskov’s full-bodied, woody tone. In contrast, the title track “Being” unfolds as a spacious, tender ballad whose warmth radiates evenly from all corners of the tightly knit quartet.

“Human Spirit” continues in a softly brushed ballad mode, with emotion emerging from its calm lines and poised harmonic progression. It differs markedly from “Human Nature”, where contemporary jazz intersects with a pop-oriented foundation, featuring a straight backbeat, direct phrasing, and a clear groove. Still, both pieces emphasize accessible melodic and harmonic pathways. The album closes with the floating, more subjective “Human Instinct”, marked by lyrical Nordic folk inflections and sustained by a discreet yet thoughtful percussion treatment. Its broader spiritual resonance occasionally recalls Jan Garbarek and Edward Vesala.

Operating more to the right of center than the left, Human Being Human presents a highly musical palette, further elevated by Cheek’s confident style throughout the set.

Favorite Tracks:
01 - Human Rights ► 03 - Human Impact ► 07 - Human Instinct

Tineke Postma - Voya

Label: Clap Your Hands, 2025

Personnel - Tineke Postma: alto and soprano saxophone; Theo Bleckmann: vocals (#1,4,5,8); David Doruzka: guitar; Robert Landfermann: double bass; Tristan Renfrow: drums.

Voya, the ninth album by Dutch saxophonist and composer Tineke Postma, finds her at the helm of a tightly knit European quartet of long-standing collaborators: guitarist David Dorůžka, bassist Robert Landfermann, and drummer Tristan Renfrow. The added distinction here is the presence of German-born, New York–based avant-garde vocalist Theo Bleckmann on selected tracks. Bleckmann has become a singular voice on the contemporary scene through close collaborations with John Hollenbeck, Ben Monder, and Meredith Monk. In a comparable way, Postma has built her own path through sustained musical relationships. As a leader, she has worked with figures such as Geri Allen, Ralph Alessi, Greg Osby, and Kris Davis; as a sidewoman, she has appeared alongside Terri Lyne Carrington, Dianne Reeves, and Amina Figarova.

The album’s title carries a threefold meaning: voyage, voice, and Oya, the Yoruba goddess of winds and storms. It opens with “Unity and Four Reasons of Hope”, where saxophone and voice intertwine with ease, floating over impulsive bass movement and sensitively brushed drums and cymbals. The piece also serves as a launchpad for focused, well-intoned individual explorations by Bleckmann and Postma, before closing with a coda that allows Renfrow to step forward with finely shaped drum commentary.

“Lillies” is an adventurous, sharply etched composition built on fragmented phrasing delivered with hard-edged staccato clarity. Here, the group ventures further outside the lines, with Dorůžka proving a vital presence: his incisive interjections sharpen Postma’s commanding solo, which he then follows with a vivid statement of his own. The brief but energetic “Rhetor’s Dream” sustains a lush atmosphere, hovering somewhere between the lyrical fusion associated with Charlie Mariano and the exploratory language of the AACM tradition, while “TP4” skillfully blends slippery funk and hip-hop inflections.

Several more contemplative pieces give Bleckmann’s often overdubbed voice a central role. “Suchness” and “Mirror Oh Mirror” stand out in this regard, the former unfolding as a deeply felt chorale anchored by Landfermann’s poignant bowed bass; the latter carried out by Dorůžka’s gently arpeggiated textures. “For Theo”, Postma’s dedication to the vocalist, opens a mellow, spacious environment in which texture and color are allowed to bloom. Postma demonstrates complete command of her instrument, while Bleckmann responds with remarkable flexibility and sensitivity, reinforcing the music’s ethereal dimension.

After “IDC”, whose enigmatic mood is heightened by a disorienting tempo and an odd, grounding bass figure, the album closes with a rendition of Wayne Shorter’s “Somewhere Called Where”. This work reaffirms Postma’s commitment to personal expression, collective trust, and forward-looking sound worlds.

Favorite Tracks:
02 - Lillies ► 03 - Rhetor’s Creek ► 05 - Mirror Oh Mirror ► 10 - IDC

Timo Vollbrecht - Bremen New York

Label: Berthold Records, 2025

Personnel - Timo Vollbrecht: tenor saxophone; Ralph Alessi: trumpet; Elias Stemeseder: piano; Chris Tordini: acoustic bass; Thomas Strønen: drums.

For his fourth album as a leader, German saxophonist and composer Timo Vollbrecht—who swapped Berlin for New York 15 years ago—assembles a dream quintet featuring American trumpeter Ralph Alessi, bassist Chris Tordini, and Norwegian drummer Thomas Strønen. Rounding out the group is the excellent Austrian-born pianist Elias Stemeseder, a former Brooklyn roommate and a key musical partner in Vollbrecht’s Fly Magic Quartet. Recorded live at Bremen’s Sendesaal concert hall, renowned for its exceptional acoustics, the album presents seven original compositions written specifically for this ensemble and shaped with carefully layered emotion and color.

“Com Tempo” is a striking opener, unfolding at a leisurely pace through an intriguingly elastic structure. It begins with Alessi’s glowing lyricism over a deep, supple groove, pointing toward the theme as Vollbrecht joins him in parallel lines, while Stemeseder adds shimmering harmonic hues. Volbrecht’s fluid soloing is rich in melodic hooks, prompting subtle shifts in density from the pianist’s responsive comping.

Set in a 7/4 meter, “Brighton Blues” radiates a quiet magnetism, clearly defined by a strong piano cadence floating over a silky bass-and-drums current. Vollbrecht’s intricate, arpeggiated language occasionally evokes Charles Lloyd, reaching for a spiritual dimension atop a rhythm that breathes with ease. “Spicy Moon” unfolds like an abstract impressionistic canvas, growing especially lyrical through Tordini’s melodic low-end explorations. A contemporary ballad at heart, it balances intricacy and space before opening suddenly into a vamp that thickens the texture, giving Alessi room to dive in with impressive range and refined phraseology.

Despite its title, “Dark” is a scintillating ballad illuminated by moments of pure light. Strønen’s restrained brushwork and lucid cymbal touches provide graceful support, while Alessi once again shines with his poignant, finely shaded trumpet voice. On “Pau”, named after Vollbrecht’s son, the saxophonist gradually veers into avant-garde territory after an opening colored by classical and chamber-jazz elements. Tordini and Strønen press forward with logic and dynamic nuance, while Alessi gives his melodies space to breathe, shaping them with care and intent. The album closes in balladic fashion with “New York Love Affair”.

Vollbrecht’s mature writing deserves high praise, and the session as a whole feels resonant, poetic, and deeply authentic. One can only hope this quintet remains active and continues to document its chemistry in future releases.

Favorite Tracks:
01 - Com Tempo ► 02 - Brighton Blues ► 04 - Dark

Chad Taylor Quintet - Smoke Shifter

Label: Otherly Love Records, 2025

Personnel - Bryan Rogers: tenor saxophone; Jonathan Finlayson: trumpet; Victor Vieira-Branco: vibraphone; Matt Engle; bass; Chad Taylor: drums.

Smoke Shifter marks the sixth release as a leader by sought-after drummer and composer Chad Taylor, currently based in Philadelphia. He enlists three other Philadelphia-based musicians—all of them contributing compositions—saxophonist Bryan Rogers, Brazilian-born vibraphonist Victor Vieira-Branco, and bassist Matt Engle, forming the core of his quintet. The exception is New York–based trumpeter Jonathan Finlayson, who orbits this nucleus with magnetic peripheral radiation. Together, they blaze new trails with an unbridled sense of freedom, anchored in both traditional jazz idioms and improvisation.

The album opens with Rogers’ “Broken Horse”, a danceable 6/8 piece incorporating an electrifying pulse and contemporary jazz elements. The saxophonist explains that it was written specifically for this group, and that the robust bass line that sustains it just popped up into his head. With Taylor behind the kit providing a stalwart anchor, the group keeps the music vital and in constant motion.

Engle’s “Avian Shadow” lifts off with soulful openness, initially driven by cross-stick propulsion and a six-beat bass figure that supports the emerging harmonic consonance between horns and vibraphone. Finlayson’s authoritative solo sparks bright responses from Vieira-Branco, while Rogers moves from unpretentiously probing to openly expansive in his narrative.

Taylor, whose musical energy acts as a catalyst for the group’s cohesion, contributes two pieces of his own. The immaculately layered “Waltz For Meghan”, dedicated to his wife, emanates exotic hues in a grand, flowing stream, creating a distinctive atmosphere that fuses chamber jazz with an African-tinged pulse. Under Taylor’s astute brushwork, Engle sounds strikingly melodic, while Rogers delivers an emotionally attuned and impactful statement. The drummer’s other composition is the title track, “Smoke Shifter”, whose affable character and odd meter draw the horn players together with shared commitment and joy, revealing a keen instinct for counterpoint and collective interplay during the theme exposition.

The album closes with two demanding pieces by Vieira-Branco. Moving at a slow 4/4 pace, “October 26th” is grounded by the composer’s hypnotic vibraphone work in perfect communion with bass and drums. Casting a magnetic spell akin to Bobby Hutcherson and Andrew Hill, they later have sax and trumpet reinforcing the enchantment. “Paradise Lawn/October 29th” shifts meters, beginning in a suspended, abstract mode before Taylor’s magnificent drumming bridges into the waltzing smoothness of the second section, which includes a finely shaped solo by its composer.

Smoke Shifter is packed with surprise, openness, and spirit—a cliché-free session that thrives on first-rate, forward-looking melodies hovering over admirable rhythmic tapestries.

Favorite Tracks:
01 - Broken Horse ► 03 - Waltz For Meghan ► 04 - Smoke Shifter ► 06 - Paradise Lawns / October 29th

Yako Trio with Harris Lambrakis and James Wylie - Woven

Label: FWF Records, 2025

Personnel - Leandros Pasias: piano; Vangelis Vrachnos: double bass; Giorgos Klountzos Chrysidis: drums + Harris Lambrakis: ney; James Wylie: saxophone.

Yako Trio’s eclectic instincts are fully on display on their latest album, Woven, an even-keeled exploration of genre-bending ambiences filtered through the group’s distinctive lens. The Thessaloniki-based trio—pianist Leandros Pasias, bassist Vangelis Vrachnos, and drummer Giorgos Klountzos Chrysidis—expands into a quintet here with two guest woodwind players: New Zealander saxophonist James Wylie and Athens-born flutist Harris Lambrakis.

This highly listenable session opens with “Mr. McCoy”, a tribute to pianist McCoy Tyner and the invigorating energy of his playing. Written by Pasias, the piece centers around a rich harmonic riff while Coltranean lines surge from the frontline. Swinging underneath with liberating force, it features ecstatic improvisations from each member and vividly evokes Tyner’s ‘70s post-bop. Vrachnos’ “Ghostly Wind” follows, unfolding like an Eastern dance with groovy bass figures, catchy melodicism, and a gently lilting rhythmic flow.

Pasias reveals an interesting, broad compositional vision throughout, contributing some of the album’s most gripping pieces, including “Kloutzoa” and “Impromptu”. The former—a breezy, soulful tune written for Chrysidis and recalling Kamasi Washington’s soul-jazz pulse—rides on a nicely chilled beat from the drummer; while the latter feels as if McCoy Tyner had teamed up with Mulatu Astatke in a modal post-bop/world-fusion crossroad, with flute-and-sax juxtapositions reaching a spiritual sensitivity. Pasias also composed “Myrtilo”, a soothing, luminous ballad.

Chrysidis’ “Speaking Voice” begins with cymbal magnification before settling into a seductive, R&B-inflected piece that nods to fusion through bouncing electric piano textures and skittering hi-hat patterns. The album winds down in a relaxed atmosphere with Vrachnos’ ballad “Sweet Lotus”.

Woven, named for its interlacing of musical idioms, showcases Yako Trio’s global sensibilities and captures the ear through the clarity and cohesion of their musical craft.

Favorite Tracks:
01 - Mr. McCoy ► 03 - Kloutzoa ► 04 - Impromptu

Bill Ware and the Club Bird All Stars - Martian Sunset

Label: Sunnyside Records, 2025

Personnel - Bill Ware: vibraphone, melodica; Rez Abbasi; guitar; Matt King: piano; Jay Anderson: bass; Taru Alexander: drums.

Martian Sunset is the latest album from American vibraphonist and composer Bill Ware, who, over a three-decade career, has carved his path across a variety of ensembles including The Jazz Passengers, Groove Collective, the trio Vibes, and Rez Abbasi’s Acoustic Quartet. The ten original compositions were written anew—though initially conceived as part of his pandemic-triggered 1k Song Project—for The Club Bird All-Stars, the long-running vehicle for his prolific creativity, formed in 1993 after a three-month engagement at the beloved Japanese venue Club Bird. The group’s new iteration features adventurous guitarist Rez Abbasi, seasoned bassist Jay Anderson, and unsung drummer Taru Alexander, with pianist Matt King remaining in the lineup.

From the opening bars of “Around The Horn”, it becomes immediately clear that Ware is a multi-genre-infused musician. Slightly funkified and strikingly groovy, the piece draws on R&B colors and is buoyed by exciting, fluid solos from Abbasi, King, and Ware. “That Dirty Road” swings mildly, though its head isn’t particularly memorable, while the uptempo “Happy Bird” opens with lively drumming and moves with an easy fusion feel, featuring Ware on melodica.

The album begins to open up more fully from this point on, heating itself toward a steady crescendo. Inspired by Ornette Coleman and Sun Ra, the title cut throbs with tension and collective synchronization, while giving the soloists plenty of space for spontaneity—including Alexander, who closes the track with rock-like muscularity. In jaw-dropping fashion, “In a Spiral”—assembled from favored fragments of earlier compositions—unfolds with purpose, assuming a luscious modal tone and dancing enchantingly after Anderson’s double-stop-rich introduction. Abbasi scrawls astute phrases with dazzling delay effects, and Ware supplies harmonic depth before a polished vamp ushers in the drummer.

“Don’t Take Me Wrong” maintains its post-bop exploratory drive with contemporary freshness, especially through King’s contributions. Powering things along on the album’s outlier, “Hangin’ at Rez”, are Abbasi on acoustic guitar and Ware on melodica; under their spell, the tune moves as breezily as a lighthearted spring diversion. The album closes with “All the Way Down”, a loping, sumptuous jazz-funk number wrapped in warm hues. 

Covering a considerable range of moods without drifting from Ware’s stylistic core, Martian Sunset feels distinctly contemporary and offers a generous share of surprises.

Favorite Tracks:
06 - In a Spiral ► 07 - Don’t Take Me Wrong ► 08 - Hangin’ at Rez

Julius Gawlik - It's All in Your Head

Label: Unit Records, 2025

Personnel - Julius Gawlik: tenor saxophone, clarinet; Evi Filippou: vibraphone; Phil Donkin: bass; Jim Black: drums.

Emerging German saxophonist Julius Gawlik, a member of the prestigious NDR Big Band, has been developing his voice through several groups, including Jim Black & The Shrimps, Evi Filippou’s inEvitable, and the Jochen Ruckert Trio. Having already made a mark on the Berlin scene with these projects, it was more than time for Gawlik to release his debut album as a leader—fronting a tight yet open-minded quartet with Filippou on vibraphone, Phil Donkin on bass, and Black on drums. These bandmates help him sharpen the breadth of his stylistic palette.

“There Are No Ugly Dogs” begins in a quiet, nearly whispered mode, with saxophone and vibraphone fused in heady melodicism over an understated bass–drums pulse. The sound progressively expands as Black injects inventive, often displaced beats that generate a sense of sophisticated bemusement. After an energizing vibraphone solo, Gawlik narrates both inside and outside the changes, orbiting tangentially and weaving his well-developed language like a spider spinning its web. The piece culminates in a multiphonic-psyched vamp.

“You Wish” is more contemplative yet mysterious in tone—evoking the atmospheric aura of Andrew Hill—with Donkin’s bass work coming to the fore in the final third. “Glow” touches abstraction, propelled by brushes and melodically defined by clarinet, whereas “Chicago” maintains a constant fluidity following a stop-start motion that shapes its opening.

Shape-shifting with extraordinary complexity, “Fuchs” launches a rampant swinging drive with polyrhythmic impact. Despite the uptempo convergence, Gawlik’s tenor improvisation remains focused, lucid, and indisputably rousing. Navigating transitions with dexterity, the quartet slips into an alternative-rock posture that calls for some of Black’s most exuberant kit work. The enchanting closer, “TSCH”, carries an almost balladic touch—harmonically rich and melodically alluring. Gawlik first moves in tandem with Filippou before departing into a high-flying solo that is both riveting and affecting.

Gawlik’s music is to be taken seriously—rooted in creative idioms and supported by an accomplished tone on both saxophone and clarinet. His narratives are unpredictable, full of intriguing turns as he and his bandmates search for contemporary musical frameworks. It’s an outstanding debut.

Favorite Tracks:
01 - There Are No Ugly Dogs ► 03 - Fuchs ► 06 - TSCH

Billy Hart - Multidirectional

Label: Smoke Jazz Sessions Records, 2025

Personnel - Mark Turner: tenor saxophone; Ethan Iverson: piano; Ben Street: bass; Billy Hart: drums.

Serving as a celebration of his upcoming 85th birthday (November 29), the incomparable master drummer Billy Hart—whose musical sensibilities continually surprise regardless of context—releases his first live album with his esteemed quartet: tenorist Mark Turner, pianist Ethan Iverson, and bassist Ben Street. Multidirectional was recorded at NYC’s Smoke Jazz Club, featuring previously recorded material—including originals from three members of the quartet and a cover—that gains fascinating new perspectives and colors in an ode to both discipline and freedom.

Hart’s “Song For Balkis”, written for his daughter and originally included on the album All Our Reasons (ECM, 2012), begins with the drummer’s tom-tom prowess before shaping into a lyrical tone poem. Under the spell cast by the rhythm section, Turner unfolds a logical narrative, followed by a solo piano moment in which Iverson induces placid, dreamlike states with a sky-falling sequence of notes. The mood darkens slightly, and Turner returns with another inspired improvisational discourse. The piece is subtly reconfigured at the end with sophisticated, classical-leaning alignments. Hart also brings “Amethyst” to the lineup, taking a rubato, balladic orientation from the outset before crossing into abstract modal jazz and avant-garde territories, with Turner leading the charge. Iverson responds astutely over a stirring bass-and-drums chain.

The group drives listeners to many unexpected places, and their take on Coltrane’s classic “Giant Steps” is another prime example. Iverson’s intriguing introduction signals that they intend to approach the tune from a new angle—and they do. The dancing groove created by Street and Hart can either hold in pedal points or swing forward, and Iverson’s motivic structures and outro are remarkable.

Turner and Iverson each contribute a composition. The saxophonist wrote “Sonnet For Stevie” for Stevie Wonder, and the quartet’s rendition of this 2013 piece delights both collectively and through each individual statement, swinging and grooving with its own distinctive character. The pianist’s “Shoedown”—the opening piece of the quartet’s previous album Just (ECM, 2022)—is a strikingly beautiful ballad played at a comfortable tempo, with everyone performing from a place of deep conviction.

With musicianship running in their veins, the Billy Hart Quartet radiates elegance and wisdom at every turn. The drummer’s vital energy, unconventional technique, and refined taste remain nothing short of awe-inspiring.

Favorite Tracks:
02 - Giant Steps ► 03 - Sonnet For Stevie ► 04 - Amethyst

John Scofield / Dave Holland - Memories of Home

Label: ECM Records, 2025

Personnel - John Scofield: guitar; Dave Holland: double bass.

American guitarist John Scofield and British bassist Dave Holland, two jazz heavyweights with a tremendous shared oeuvre, join forces for their first duo record, join forces for their first duo record, Memories of Home. Recorded after extensive touring together, the album its something to stick with, as they refine and hone abundant musical ideas in nine old and new compositions—five by Scofield and four by Holland. In the past, they spread their talent in projects by pianist Herbie Hancock and saxophonist Joe Henderson, and co-led the quartet ScoLoHoFo with saxist Joe Lovano and drummer Al Foster.

The album couldn’t have a better start than with Scofield’s “Icons at the Fair”, a phenomenal piece inspired by Hancock’s arrangement of “Scarborough Fair” on The New Standard (Verve, 1996). Its catchy American sound—rooted in blues and folk—is quintessential Scofield. Mastering his octaves technique, he begins with a crisp single-note narrative before infusing rich chords over Holland’s driving, athletic lines. The bassist follows with a hyper-articulated solo, eventually trading phrases with his musical partner before redirecting to the tune's theme. 

The following three pieces, all penned by Scofield, show these singular artists in top form, revealing their deep understanding of the material and elevating it through their craft. “Meant To Be”, a mesmerizing 3/4 post-bop classic from 1991, is played here with warmth and stylish finesse. “Mine Are Blues”, a new composition, brings expressive synchronicity to its main melody, swinging unabashedly until its glorious finale. “Memorette”, another 3/4 tune, relies on Holland’s bass dances and melodic insight.

Of Holland’s four previously recorded compositions, three gained notoriety through his quintet. Both “Mr. B”, a dedication to bassist Ray Brown that swings as sharp as a tack, and the groove-centered “Not For Nothing”, which retains its original 5/4 meter and features Scofield’s amazing comping, were first recorded with Holland’s famed vibraphone-equipped quintet. In turn, the straight-ahead “You I Love”—packed with invigorating walking bass and bluesy guitar chops—first appeared with a different quintet, Holland’s earliest, featuring a three-horn frontline with trumpeter Kenny Wheeler, altoist Steve Coleman, and trombonist Julian Priester. The album closes with the title track, a ballad with a pronounced country feel.

Scofield and Holland push each assertively into groovy territory. No matter what they play, they always find a way to pull focus and draw you in. This joint effort is a must-have for any jazz lover.

Favorite Tracks:
01 - Icons at the Fair ► 02 - Meant To Be ► 03 - Mine Are Blues ► 08 - You I Love

Igor Lumpert Quartet - Resistance of the Earth

Label: ears&eyes Records, 2025

Personnel - Igor Lumpert: tenor and soprano saxophones, accordion; Leo Genovese: piano; Drew Gress: acoustic bass; Damion Reid: drums.

For his new quartet album, Resistance of The Earth, Slovenian saxophonist and composer Igor Lumpert assembles a formidable crew: sought-after pianist Leo Genovese, seasoned bassist Drew Gress, and dynamic drummer Damion Reid. Partly inspired by natural disasters and environmental decline, and partly a family tribute, the record turned out remarkably well for something captured in a single day after just one rehearsal. The music channels the modal spirit of John Coltrane and McCoy Tyner, while embracing modern composition and cross-cultural influences.

The title cut, “Resistance of the Earth”, opens with an assertive drum statement, soon joined by vocal chants and Lumpert’s fervent saxophone lines, enveloped in a modal aura reminiscent of Tyner and Billy Harper. The latter—alongside drummer Chico Hamilton and bassist Reggie Workman—was one of Lumpert’s mentors at New York’s New School. Lumpert’s solo brims with clarity and imagination, followed by a fiery turn from Genovese, who thrives in this setting. The pianist’s rhythmic elasticity also shines on “Sures”, an exciting piece with an intricate relationship with tempo and accentuation.

Among the album’s more athletic tunes, “High Peaks” begins in a controlled Coltranean post-bop frame before bursting into ecstatic avant-garde interplay, while “Mediterranean Samurai”—inspired by birdwatching and nature—unfolds with a 3/4 piano riff and martial snare fluxes beneath Lumpert’s fluid, cutting tenor lines.

The sophisticated ballad “Underwater Snow” cools the mood with soft textures and a chilled backbeat, serving as a touching tribute to Lumpert’s wife. His solo follows the tune’s emotional logic with poise and passion. “Choir Song”, asymmetrical and harmonically rich, channels a Wayne Shorter vibe and features Lumpert on both accordion and soprano sax. In “Panonian”, set in seven, sax and piano move with synergistic coordination, while the closer, “Blues for Code Talkers”, offers a disciplined, spiritual homage to the Native American soldiers who used tribal languages to transmit coded messages during WWII. The Coltrane/Tyner’s synergy is evident throughout this piece. 

The album’s cohesion stems from the quartet’s deep rapport and shared sense of purpose. Lumpert’s writing and playing strike a balance between intensity and intellect, and his bandmates respond in kind. Free of pretense or artifice, Resistance of the Earth stands as a solid, thoughtful statement of originals.

Favorite Tracks: 
01 - Resistance of the Earth ► 02 - Sures ► 03 - High Peaks